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"A pre-eminently sane, lucid, and concise statement about the central issues, the key examples, and the notorious derilections of postmodernism. I feel a fresh wind blowing away the miasma coiling around the topic."--Ihab Hassan, University of Wisconsin, Milwaukee
"The most intellectually incisive, coherent and comprehensive meditation upon the history and significance of postmodernism that I have yet encountered."--Patricia Waugh, University of Durham
"Easily the best introduction to postmodernism currently available."--Hans Bertens, Utrecht University
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Postmodernism has been a buzzword in contemporary society for the last decade. But how can it be defined? In this Very Short Introduction Christopher Butler challenges and explores the key ideas of postmodernists, and their engagement with theory, literature, the visual arts, film, architecture, and music. He treats artists, intellectuals, critics, and social scientists 'as if they were all members of a loosely constituted and quarrelsome political party' - a party which includes such members as Cindy Sherman, Salman Rushdie, Jacques Derrida, Walter Abish, and Richard Rorty - creating a vastly entertaining framework in which to unravel the mysteries of the 'postmodern condition', from the politicizing of museum culture to the cult of the politically correct.
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First Sentence
Carl Andre's rectangular pile of bricks, Equivalent VIII (1966), annoyed lots of people when shown at the Tate Gallery, London, in 1976. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
Carl Andre's rectangular pile of bricks, Equivalent VIII (1966), annoyed lots of people when shown at the Tate Gallery, London, in 1976. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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13 of 14 people found the following review helpful:
2.0 out of 5 stars
necessary subject matter, odd choice of author,
This review is from: Postmodernism: A Very Short Introduction (Very Short Introductions) (Paperback)
It seems strange that OUP should have asked Chris Butler to write a book on a subject matter that he appears to have such little time for. Though the authoritative tone indicates that he has clearly spent a good deal of time wrestling with its key debates over the course of his academic career, the majority of what Butler sweepingly terms 'postmodernism' does not come across in a particularly positive light.
There are of course plus points to such an approach. Refreshingly (and necessarily), it recognises that these ideas are no longer as contemporary and vital as they were 30 years ago or more and that they need to be evaluated with the benefit of hindsight and academic distance; there are no sacred cows. Consequently, the writing legitimates a disinterested analysis, encouraging the reader to take an objective and critical stance in engaging with these ideas. However, while Butler is correct to argue beyond some concepts, he is frequently dismissive towards others (such as intertextuality) in a manner which it is difficult to see the advantage of (this being a pedagogic overview). Other subjects are barely mentioned: psychoanalaysis receives particularly short shrift, with not a single reference to Lacan other than a typically flippant aside about the absurdity of the post-Freudian phallic symbol. Despite the title, it is also disappointing to note the absence of consideration towards a distinction between 'postmodernism' and 'postmodernity' (Butler concentrates exclusively on the former). As such, the focus is on the postmodern as a movement, rather than a phenomenon; ideas and works under discussion are almost entirely from a 'high art' context, specifically those which deliberately play with some of the ideas from academia; and little attention is paid to the ways in which mass culture has unconsciously participated in the dissemination of ideas. His argument then, that the postmodern 'period' (i.e. late 60s-80s) produced few works of any consequence, seems to miss the point in a rather small-minded way - surely the emphasis at this time was on producing works which reassed the ways in which we consider and consume culture (the impact of which is still being felt today), rather than simply the formation of a new canon? It is a shame that Butler's personal biases muddy this otherwise well-written and perceptive account. To publish a book assessing postmodern cultural and theoretical legacies on their own terms (deconstructing the deconstructors, if you will) and presenting it accessibly for newcomers to the subject was a noble aim and could have been a valuable addition to the otherwise excellent Very Short Introduction series. Perhaps it can still be written by an author more sympathetic to (and aware of) the subject matter.
21 of 23 people found the following review helpful:
2.0 out of 5 stars
Not an exposition but a critique,
By Sam James (Leeds, United Kingdom) - See all my reviews
This review is from: Postmodernism: A Very Short Introduction (Very Short Introductions) (Paperback)
Though this is accessible, it is much more useful as an introductory account of Butler's own views (incidentally, highly critical of "postmodernism") than of so-called postmodern thought itself. It might be more advisable, then, to read a more sympathetic introduction (say Catherine Belsey's excellent "Poststructuralism" in the same series) before moving on to the more hostile views of Butler, Eagleton, et al.
3 of 3 people found the following review helpful:
3.0 out of 5 stars
its partisanship is the best part!,
This review is from: Postmodernism: A Very Short Introduction (Very Short Introductions) (Paperback)
this is an adequate introduction, but hardly brilliant. it is largely, but not always accessible - butler sometimes has an odd turn of phrase and can be slightly longwinded or unclear - but is generally written clearly and with verve.
in my opinion it is a slightly incomplete, or inbalanced introduction - while he touches too lightly on some things, he is also repetitive about others. he is actually not that concise - on a small scale, his paragraphs are longer than they need to be for you to get the point - and on a large scale, certain facets of PM - ie, the 'calling into question' come up again and again while others seem underrepresented - for example, i was really hoping for a summary of key postmodern literature, or at least PM's general effect on literature, but this, if done at all, was only cursorily and indirectly. often butler lists names, which isnt that helpful if they are just names to you. visual art was done better. and, of course, the photos are a great help. i suppose what i am saying is that it is good on the concepts but not so much on their application (although this is not de facto a bad thing). just dont expect a discussion of samuel beckett or anything. and yes, butler is unashamedly not postmodernism's biggest fan (kind of odd for an academic who writes about it?) - but i think this is to the book's advantage. it makes it lively, and humanises a topic which is so often presented in a dry and longwinded manner. there is so much mystifying pseudo-intellectualism surrounding postmodernism, and as a student it seems to exert a hegemony on academics, who unthinkingly revere its rhetoric, so it was immensely refreshing to see someone treat it honestly (generally), and challenge this hegemony. butler takes it seriously and in doing so gives it a respect that uncritical worshipping doesnt. it deserves debate (and after all, without this learning can be sterile). actually, after reading his book i think i like postmodernism (even) more. i definitely care more.
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